Artist Credit
Denni Alan Composer
Miles Copeland Liner Notes
Frank DeLuna Mastering
Hipgnosis Design, Photography
Derek Lawrence Producer
Andrew Powell Composer
Andy Powell Composer, Guitar, Guitar (Acoustic), Guitar (Electric), Guitar (Rhythm), Mandolin, Vocals
John Tout Keyboards, Organ
Kim Turner Executive Producer
Martin Turner Bass, Composer, Guitar (Bass), Keyboards, Mixing, Producer, Vocals
Ted Turner Banjo, Composer, Guitar, Guitar (Electric), Guitar (Rhythm), Lap Steel Guitar, Vocals
Steve Upton Composer, Drums, Percussion
Barry Wentzell Photography
Mick Williams Engineer
Laurie Wisefield Composer

If Wishbone Ash can be considered a group who dabbled in the main strains of early-’70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own. The album boasted extended compositions, some of them (“Time Was,” “Sometime World”) actually medleys of different tunes, played with assurance and developing into imaginative explorations of new musical territory and group interaction. The lyrics touched on medieval themes (“The King Will Come,” “Warrior”) always popular with British rock bands, adding a majestic tone to the music, but it was the arrangements, with their twin lead guitar parts and open spaces for jamming, that made the songs work so well. Argus was a bigger hit in the U.K., where it reached the Top Five, than in the U.S., where it set up the commercial breakthrough enjoyed by the band’s next album, Wishbone Four, but over the years it came to be seen as the quintessential Wishbone Ash recording, the one that best realized the group’s complex vision.

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